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In effect, it is filtering out all frequencies other than its resonance. Acoustic resonance is an important consideration for instrument builders, as most acoustic instruments use resonators, such as the strings and body of a violin, the length of tube in a flute, and the shape of a drum membrane. Acoustic resonance is also important for hearing.
Reverberation (commonly shortened to reverb), in acoustics, is a persistence of sound after it is produced. [1] Reverberation is created when a sound or signal is reflected. This causes numerous reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture, people, and ...
Sympathetic resonance is sometimes an unwanted effect that must be mitigated when designing an instrument. For example, to dampen resonance in the headstock, some electric guitars use string trees near their tuning pegs. Similarly, the string length behind the bridge must be made as short as possible to dampen resonance.
The first reverb effects, introduced in the 1930s, were created by playing recordings through loudspeakers in reverberating spaces and recording the sound. [2] The American producer Bill Putnam is credited for the first artistic use of artificial reverb in music, on the 1947 song "Peg o' My Heart" by the Harmonicats.
However, resonance can also be detrimental, leading to excessive vibrations or even structural failure in some cases. [3] All systems, including molecular systems and particles, tend to vibrate at a natural frequency depending upon their structure; this frequency is known as a resonant frequency or resonance frequency.
Many modern mixing boards designed for live sound include on-board reverb effects. Other effects include modulation effects such as Flanger, phaser, and chorus and spectral manipulation or harmonic effects such as the exciter and harmonizer. The use of effects in the reproduction of 2010-era pop music is often in an attempt to mimic the sound ...
Timbre/Harmonic Intensity (filter resonance) 72 Release Time 73 Attack Time 74 Brightness (cutoff frequency) 75 Decay Time 76 Vibrato Rate 77 Vibrato Depth 78 Vibrato Delay 91 Effect 1 Depth (reverb send level) 92 Effect 2 Depth (formerly tremolo depth) 93 Effect 3 Depth (chorus send level) 94 Effect 4 Depth (formerly detune depth) 95
To maximize gain before feedback, the amount of sound energy that is fed back to the microphones must be reduced as much as is practical.As sound pressure falls off with 1/r with respect to the distance r in free space, or up to a distance known as reverberation distance in closed spaces (and the energy density with 1/r²), it is important to keep the microphones at a large enough distance ...
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